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| The Prey Series Virgil Flowers The Kidd Series The Fool's Run Other Novels Etcetera | The Fool's Run It was hard work, which he hadn't expected. The thief removed each leaf from the blueprint book, squatted
and centered it between tape markers on the rug. When it was in place, he stood
up, squinted through the camera's viewfinder, and tripped the shutter. Then he
did it again, ninety-four times, a long half hour of deep knee bends. As he worked, he talked to himself: "Ooo, that's got it,
Danny... Awright, motherfucker... Let's move this sucker a leetle bit
this way..." When he finished, he was sweating. He turned off the
photo-flood and lit a cigarette. The thief was tall and sandy haired, with a long English face,
beaked nose, and china-blue eyes. His ruffled-front shirt was buttoned and
cuffed with onyx studs. He wore tuxedo trousers, a black cummerbund, and patent
leather shoes. A tuxedo jacket was folded over the back of a visitor's
chair. The thief was working in his own office. The desk was real
oak, the carpet real wool. The two regulation plants, a palm and something
else, were plastic, but exceptionally authentic. At the back of the office, an old-fashioned drafting table
stood beneath a window. He didn't use it; it was a harmless affectation allowed
an upper-middle manager. A swing-arm lamp was mounted on the drafting table,
though, and that had been useful. The thief replaced the lamp's 100-watt
incandescent bulb with a floodlight and maneuvered the lamp out over the
carpet. The light on the blueprints was flat and even. The pictures would be
perfect. After a dozen drags on his cigarette, the thief snubbed it out
and began rebinding the blueprints. As he clipped the pages in place, he paused
occasionally to listen. Except for the odd plonks and plunks,
the building was quiet. When he finished with the blueprints, he set them aside
and turned to a second book. This book was also loose-leaf, but smaller, the size of a
telephone directory. Its 706 pages were covered with computer code. He could
photograph four pages at a time. The pages would be out of order on the film,
but that made no difference as long as he got them all. It took him two hours
and fifteen minutes to make the copies. "Jesus Christ," he muttered as he picked up the last two
pages. His knees cracked when he stood and his lower back ached. He lit another
cigarette, stretched, and looked idly around the office. He had spent a thousand days in it, but never breached its
built-in anonymity. Memos, business cards, and procedure statements were
thumbtacked to a bulletin board beside the desk. A photo of himself, riding
backward on a bicycle at a company picnic, was pinned in the lower corner. A
cartoon from The New Yorker was mounted next to it. A gold-framed
photo of Margo, with Tammy and Ben on her lap, sat next to the desk, next to an
onyx ashtray from Cancun. There was little else that was personal. When he finished the cigarette, the thief picked up the code
book and the unwieldy blueprint binder and stepped into the darkened hallway.
The executive suite was empty. The annual directors' dinner began in an hour.
All the hustlers and hotshots would be there early. "All the hustlers, Danny," he muttered through his teeth. he
would be late and miss the cocktails. But he wasn't so important that his
tardiness would be noticed, he thought with a touch of bitterness. Down two floors was the security library. The thief carried
the books down the fire stairs and through another dark hallway and opened the
library door with a key from a steel ring. Inside, he went to a separate room
in the back, opened the fire door with another key, and put the books back on
the shelves from which he'd gotten them three hours earlier. As he shut and locked the library door, he was seized by a
graveyard chill. Footsteps? No. There was no one there. he pulled the key out
of the lock and hurried scurrying, he thought, like a
rat back to his office, suddenly afraid of the dark. Afraid that
somebody would step out of a doorway and say, "We know what you're
doing...." Inside the office, his heart pounding, the thief put the
original bulb back into the drafting lamp, dropped the floodlight into a brown
paper sack, and crushed it under his heel. He would dump the sack in a trash
basket on the way out. The film cassettes he tucked under his cummerbund, like so
many bullets in a cartridge belt. The camera, on a short strap, went over his
shoulder, under and slightly behind his armpit. With the tuxedo jacket covering
it, the camera would be invisible. Satisfied, he turned out the light, picked
up his alligator briefcase, and rode the elevator down eight floors to the
lobby. The guard at the front desk was watching an Orioles-White Sox
game on a grainy black-and-white television. He turned his head at the sound of
the elevator. "How are we doing?" the thief said as he crossed the marble
floor. "Down three to two, but we're coming up in the eighth." The
guard pushed the sign-out register across the desk. "You going to the big
party?" "Yes." The thief glanced at his watch. Right on time. The
guard checked his briefcase, deferentially opening the half dozen file folders
inside. They contained routine personnel papers. Nothing technical. "S'okay, and have a good time," the guard said. "Don't do
anything I wouldn't." "I'll be careful," said the thief, with a quick, pleasant
smile. His teeth were white against his dark face. Sharp dresser, the guard
thought as the thief went down the steps and out the door, though his tux was a
little too full in the shoulder. The guard looked at his watch and sighed. Five hours to go. He
opened the drawer that held his lunchbox where a package of Hostess cupcakes
waited. He knew if he ate them now, he'd regret it at lunch time. He opened the
box and took out the cellophane-covered cupcakes and stared at them. Chocolate
frosting with pink squiggles. God, it was a lonely job. |
29 September 2011 The Prey series, the Virgil Flowers series,
the Kidd series, The Night Crew, Dead Watch, The Eye
and the Heart: The Watercolors of John Stuart Ingle, and Plastic
Surgery: The Kindest Cut are copyrighted by John Sandford. All excerpts are
used with permission. All original content on the website (excluding the message
board and some other specifically disclaimed text) is copyright © 2011 by
Roswell Anthony Camp. Please do not steal anything from these pages. If you
want to borrow something, write and ask first. Help keep moofs happy. | |